Pan Visionary
Hollis John Clifton in the Spotlight
A
Steelpan Vibes interview by Barbara Sealy Rhoden
Hollis
J. Clifton
Pan
Diaspora Visionary
Florida,
USA
Spotlight
Guest: Hollis John Clifton,
Teacher/Guidance Counselor/ Motivational Speaker/Videographer
Spotlight Theme: “Growing appreciation for the
steelpan internationally”
Barbara
- Greetings and welcome to the SteelpanVibes Spotlight, Mr. Clifton. I’ve been giving our listeners some
highlights of your career and the many hats you’ve worn over the years,
especially your involvement in the steelpan art form. During this interview I’d
like you to talk about how you see Pan growing internationally.
Tell us
briefly how you first became involved in the steelpan art form? What motivated you and what was the social environment
like then?
Clifton
- Thank you Barbara, for the invitation to share my experience with you and
your listeners.
It was
during my student tenure in England in the early 1970s, as fate would have it I
became a member of the Ebony Steelband. But, with the social stigma attached to
the steelband that feat could not have occurred with the type of parents I had
in Trinidad. I eventually became Ebony’s PRO where I was responsible for
introducing “pan on wheels” with canopy … the first of its kind in the UK and
by extension Europe. I also instigated the concept of (so called) steelband
sponsorship. (St Clair’s Hair Stylists, Marble Arch, London).
Barbara
- You spent 18 years teaching Social Studies at Pleasantville Senior
Comprehensive School in Trinidad (equivalent to high school for 12 to 17 year
olds) and you managed the school’s steel orchestra. What were some of the highlights of that
experience?
Clifton
- This was an historic period for me and for the Pleasantville Pan fraternity
as we had the privilege of working with the likes of Ken “Professor”
Philmore. “Pro” inspired a whole lot of
panists some of whom have become top players and/or arrangers on either side of
the Atlantic Ocean. These include Liam Teague, Darren Sheppard, Leon “Foster”
Thomas, Dwight & Darryl Belgrove, Curtis “Sleepy” Marcelle, Roger Charles,
Sean Ramsey, Wentworth & Brent Richardson, Ancel Webb, Darrel Edwards,
Aldon Moore, Richard Ian Gittens, Ian “Cokie” Beckles, Wade “Blobber” Austin,
Sherwin Cooper and Rawle Mootilal among others.
Pleasantville
was the feeder school for most of the community Pan sides in and around San
Fernando, especially around Panorama time. The group was the backbone of the
school’s then-roving “Performing Arts Society (PAS).” In that respect Pleasantville
was the envy of most schools in T&T (Trinidad & Tobago)… and by
extension the Caribbean. We were the
first school steelband to acquire our own set of instruments - and thus never had to go to any outside Pan
theatre to practice. For a while we were
the only steelband representing South Trinidad for schools Panorama and Music
Festival…
PS: we
almost got into trouble with the law for playing Pan on the road without a
police permit for San Fernando Kiddies Carnival Street Parade.
Barbara
- From 1999 to 2007 you taught in schools in Africa. How did that come about and what role did
the steelpan play there? Did your
students see a connection between the African drum and the steelpan?
Clifton
- I taught, firstly, in Nigeria (1978-79) and more recently in Botswana. I left
a teaching career in the UK in favour of another in Nigeria. There I acquired a
tenor pan from the Trinidad and Tobago High Commission in Lagos. This I used to
accompany sing-a-longs at the weekend retreats at the Children’s House School,
Abeokuta, Ogun State - the boarding school to which I was the House Master.
However, a few months prior to my arrival on that continent’s most populous
state, the steelpan had already made its mark when Starlift Steel Orchestra represented
Trinidad & Tobago at Nigeria’s FESTAC (Festival of Arts and Culture,
1977).
Many
years later, in 1999, in response to an invitation by the Government of
Botswana to assist in the development of the country’s human potential, I
picked up a teaching assignment for Moral Education in the “landlocked diamond
rich” State. I was the first to introduce the steelpan to a number of state
schools – Lobsec, Marang CJSS, Tloga Tloga CJSS, and Rainbow High School.
My
students readily saw the link between the steel drums (Pan) and the African
drums as they were both percussive/acoustic instruments. The marimbas, however,
were more significant as a “twinning factor” as they both required a pair of
sticks (mallets) to play and were national instruments of their respective
states with the Pan emerging from the African Diaspora – Trinidad & Tobago.
Barbara
- Why did you introduce the instrument and how did the students respond?
Clifton
- It was by pure accident that in 1999 I was “knocking pan” in the Grand Palm
Hotel in Gaborone, Botswana awaiting my posting to Lobsec (Lobatse Secondary
School) in Southern Botswana when my services were solicited to assist the
organisers of Miss Botswana Universe competition. I obliged … emerging as the
dance choreographer cum pannist for the pageant. I evidently ended up teaching
the winner, Ms. Mpule Kwalagobe, to play the steelpan and generally preparing
her for the Miss Universe finals, which coincidentally, was hosted by Trinidad
& Tobago. She eventually emerged the winner following on the heels of Wendy
Fitzwilliam of Trinidad & Tobago who won the title in 1998.
Barbara
- Tell us about the steelpan ensemble you led in Botswana?
Clifton
- Being in Botswana was either make or break and I surely didn’t break. The
opportunity saw me founding my own family steelband – Kaisoka (with
Mokojumbies). We traversed most of the countries in Southern Africa. (Unlike my
sojourn in West Africa where I was a one-man band).
We
received special invitations to provide the rhythm section in support of the
touring West Indies Cricket Team at various stadia throughout Zimbabwe and
South Africa. The steelpan was the drawing card for people of Caribbean origin
who were sojourned in various states in Africa as well as Europe. Some
supporters even came all the way from the West Indies I seized the opportunity to merge the
traditional marimbas with the steelpans for “World Teachers Day”with fellow
teachers from Marang Community Junior Secondary School. This was a special
feature at the Botswana National Stadium.
Barbara
- Part of your international Pan experience took place in London where you
performed and worked with Ebony Steelband.
When did this take place and what did you learn from that experience?
Clifton
- “Nuff Respect” to the Ebony experience as, believe it or not, that encounter
together with my Caribbean background landed me my first job as a teacher,
without me having to apply for same.
I had
not even completed my final exams in college (Digby Stewart) when I was made
the offer. Normally foreign students were expected to return home at the
expiration of the visa. But, one needs to appreciate that in the 1970s London
was experiencing the development of the second generation Caribbean youth who
found it difficult to identify with the schools’ ethos. (Mind you … there were
little or no professionals that looked like them) Ipso facto, the ILEA (Inner
London Education Authority) must have been taking affirmative action to address
a situation in which children of colour in the school system were simply being
referred to as ESN (Educationally Subnormal). That had a lot to do with
cultural differences. That was a massive learning curve for me.
Again,
with annual trips to Huddersfield, Ebony helped to establish that carnival
which for a while was second to Notting Hill’s. We were also doing the club
circuits – upstairs Ronnie Scotts (Jazz) to concert halls – Royal Albert Hall
to Wembley Stadium to open for Mick Jagger and the Rolling Stones Concert Tour.
That was an exceptional learning curve.
Barbara
- Over the years, you’ve played Pan on three continents. What is most outstanding about the growth of
the steelpan art form in each continent?
Clifton
- The UK almost certainly was the first PAN DIASPORA simply because of the
arrival of TASPO (Trinidad All Steel Percussion Orchestra) to participate in
the Festival of Britain in 1951. TASPO presented the newly-invented Steelpan to
an international audience for the first time ever. Following the demise of TASPO, Nostalgia
emerged as the first steelband outside the Caribbean.
The
teaching of Pan in schools, however, began in 1969 in London under the tutelage
of Gerald Forsyth at Islington Green School and before long a department for
steelpan tuition was set up.
I
recalled by sheer accident a school in Croydon (south of London) had sent a
group of students outside as a form of punishment where they began a rhythmic
clapping in the school yard. This immediately drew the attention of the rest of
the school’s populace. That event served as a fillip for the introduction of
the steelpan to that group who were largely of Caribbean extract. Back in the
Caribbean in 1949 the Antigua Steelband Association was formed.
Meanwhile
across the Atlantic it was as early as 1951 Winston Spree Simon got a contract
to teach Pan music at University of Nigeria & Ghana. I am not sure how that
panned out.
Barbara
- What do you see as the value of the steelpan art form in the teaching of
children?
Clifton
- Pan, like other forms of music education, not only enhances a child’s
academic performance in Math and Science, it also encourages teamwork,
communication and other social skills that are critical to the success as an
adult. Intercultural education also has
a marked effect on the social and personal development of students.
Pluralism
in practice means that different cultural and ethnic groups in the society do
not merely exist side by side but understand sympathetically each other's
folkways, lifestyles, customs, literature and aspirations. This is now a challenge in education, as the
diversity of the school population has resulted in the need for an appropriate
response. Hence schools have a crucial
role to play in attaining the aims of multicultural society.
Barbara
- As a performing artist and trainer, what were some of the challenges you
overcame to reach your goals? Give us
one or two examples.
Clifton
- Well, well … At many a gig I often had to explain to people that Trinidad
& Tobago is not a part of Jamaica, but an independent state, at a distance
of some 1852 kilometers away from each other.
Another
challenge was that of proving to beholders that there were no electronic
gadgets attached to the underside of the instrument while playing.
A few
years ago I was driving my car in Gaborone (the capital of Botswana) when a
Motswana pulled alongside, looked at a dangling CD with Trinidad &Tobago -
inclusive of T&T national colours. His statement was “Hey, brother;
Trinidad & Tobago - what part of Jamaica is that?”
Barbara
- You are now based in Trinidad & Tobago, the home of the Steelpan. What, in your view, needs to be done to
promote Pan at home and internationally?
Clifton
- In the first instance many people in T&T have not accepted the Steelpan
as “our” national instrument. That in itself is, indeed, a challenge.
•Secondly,
Pan tuning together with music literacy should be taught as a subject in
school… so there won’t be a problem replacing the current aging tuners – Lloyd
Gay, Bertram “Birch” Kelman, Zuzie, Bertie Marshall et al.
•Again -
all instruments made in Trinidad & Tobago should include the stamp
“Trinidad & Tobago the Home of the Steelpan” so that all Pans being
exported will be able to market the country as “The Land of the Steelpan”
•More
Pan music should be played more often on the Radio and on TV
•There
needs to be training on an ongoing basis, say, like the OTJ (On the Job)
program
•A lot
of schools do not have instruments and some of those with instruments have no
tutors.
•The
tutors are employed on contract… suddenly as the contracts expire they are not
being renewed
•Pan
Trinbago needs to stake its claim as the World Governing Body for Steel Pan;
ongoing contact needs to be made with the other steel pan organizations
overseas e.g. New York, BAS (British Association for Steelbands), Holland, etc.
Pan Trinbago should be like what FIFA (Fédération Internationale de Football
Association) is to football. No
organization should be having a festival/competition without the input of Pan
Trinbago.
Barbara
- Hollis, our studio engineer—Dennis King—would like to ask you a couple of
questions.
Dennis -
What part does your national government play in fostering the ongoing
development of the instrument?
Clifton
- The previous administration introduced the “Pan in School Project” which has
been going well for a number of years. However, there is cause for concern now
as some schools have been awaiting promised instruments for over a year now without explanation.
The
Ministry of Science and Technology has a program at UTT (University of Trinidad
& Tobago) where young Pan tuners are being trained and the older ones are
being graded from, for example, Grade 1 to Master Tuners etc. That UTT program is headed by Bertie
Marshall.
Dennis -
What is the attitude of the government towards making it (Pan) more a national
entity of Trinidad & Tobago?
Clifton
- The answer here borders on “politicks” and if you don’t mind, I would rather
stick to Culture. I just don’t want to open a can of worms.
In
closing: condolences to a former
colleague of mine Selwyn Baptiste who passed away January 5 in the UK… he was a
former drummer/pannist who was at the forefront of the development of Caribbean
Culture in the UK.
Thanks
again, Barbara, for allowing me to make a contribution to your programme.
Barbara Sealy
Rhoden
Producer
& Host, SteelpanVibes
“Pan is
our passport”
Listen
to "SteelpanVibes.... It's More Than Music" Saturdays, 11am EST on
WNRG 107.9FM, Palm Bay, Florida and streaming live at energydancemix.com
